[60] Wagner has admirably utilised this hint of Simrock's in his Parsifal, when his Kundry (the loathly damsel of Chrestien and the Mabinogi) is Herodias. _Cf._ _infra_, Ch. X.

[61] Excepting, of course, the late fifteenth and early sixteenth century Paris imprints, which represented as a rule, however, the latest and most interpolated forms, and Mons. Fr. Michel's edition of Borron's poem.

[62] Hucher's argument from v. 2817 (_supra_ p. 106) that the poem knew of the Grand St. Graal is, however, not met.

[63] _Vide_ p. 200, for Birch-Hirschfeld's summary comparison of the two works, and _cf._ _infra_ p. 127.

[64] _Cf._ _infra_ p. 128, for a criticism of this statement.

[65] Opera V. 410: Unde et vir ille eloquio clarus W. Mapus, Oxoniensis archidiaconus (cujus animae propitietur Deus) solita verborum facetia et urbanitate praecipua dicere pluris et nos in hunc modum convenire solebat: "Multa, Magister Geralde, scripsistis et multum adhue scribitis, et nos multa diximus. Vos scripta dedistis et nos verba."

[66] Printed in full, Hucher, I. 156, etc.

[67] Printed by Hucher, I. p. 35, etc.

[68] The remainder of Birch-Hirschfeld's work is devoted to proving that Chrestien was the only source of Wolfram von Eschenbach, the latter's Kiot being imagined by him to justify his departure from Chrestien's version; departures occasioned by his dissatisfaction with the French poet's treatment of the subject on its moral and spiritual side. This element in the Grail problem will be found briefly dealt with, Appendix A.

[69] I have not thought it necessary, or even advisable, to notice what the "Encyclopaedia Britannica" (Part XLI, pp. 34, 35) and some other English "authorities" say about the Grail legends.

[70] They are brought together by Hucher, vol. i, p. 383, etc.

[71] In the preface to the second volume of his edition of Chrestien's works (Halle, 1887), W. Forster distinguishes Peredur from the Lady of the Fountain and from Geraint, which he looks upon as simple copies of Chrestien's poems dealing with the same subjects. Peredur has, he thinks, some Welsh features.

[72] It is perhaps only a coincidence that in Gautier the "pucelle de malaire" is named Riseut la Bloie, and that Rosette la Blonde is the name of the loathly damsel whom Perceval meets in company of the Beau Mauvais, and whom Birch-Hirschfeld supposes to have suggested to Chrestien _his_ loathly damsel, the Grail messenger. But from the three versions one gets the following:--Riseut (Gautier), loathly damsel (Didot-Perceval), Grail messenger (Chrestien), = Peredur's cousin, who in the Mabinogi is the loathly Grail messenger, and the protagonist in the stag-hunt.

[73] I have not thought it necessary to discuss seriously the hypothesis that Chrestien may have used the Mabinogi as we now have it. The foregoing statement of the facts is sufficient to negative it.

[74] THE COUNSELS. _Chrestien_ (v. 1,725, etc.): aid dames and damsels, for he who honoureth them not, his honour is dead; serve them likewise; displease them not in aught; one has much from kissing a maid if she will to lie with you, but if she forbid, leave it alone; if she have ring, or wristband, and for love or at your prayer give it, 'tis well you take it.

Never have comradeship with one for long without seeking his name; speak ever to worthy men and go with them; ever pray in churches and monasteries (then follows a dissertation on churches and places of worship generally).

_Mabinogi_ (p. 83): wherever a church, repeat there thy Paternoster; if thou see meat and drink, and none offer, take; if thou hear an outcry, especially of a woman, go towards it; if thou see a jewel, take and give to another to obtain praise thereby; pay thy court to a fair woman, _whether she will or no_, thus shalt thou render thyself a better man than before. (In the italicised pa.s.sage the Mabinogi gives the direct opposite of Chrestien, whom he has evidently misunderstood.) _Sir Perceval_ (p.

16): "Luke thou be of mesure Bothe in haulle and boure, And fonde to be fre." "There thou meteste with a knyghte, Do thi hode off, I highte, and haylse hym in hy" (He interprets the counsel to be of measure by only taking half the food and drink he finds at the board of the lady of the tent. The kissing of the lady of the tent which follows is in no way connected with his mother's counsel.) _Wolfram_: "Follow not untrodden paths; bear thyself ever becomingly; deny no man thy greeting; accept the teaching of a greybeard; if ring and greeting of a fair woman are to be won strive thereafter, kiss her and embrace her dear body, for that gives luck and courage, if so she be chaste and worthy." Beside the mother's counsels Perceval is admonished by Gonemans or the personage corresponding to him. In _Chrestien_ (2,838, _et seq._) he is to deny mercy to no knight pleading for it; to take heed he be not over-talkful; to aid and counsel dames and damsels and all others needing his counsel; to go often to church; not to quote his mother's advice, rather to refer to him (Gonemans). In the _Mabinogi_ he is to leave the habits and discourse of his mother; if he see aught to cause him wonder not to ask its meaning. In _Wolfram_ he is not to have his mother always on his lips; to keep a modest bearing; to help all in need, but to give wisely, not heedlessly; and in especial not to ask too much; to deny no man asking mercy; when he has laid by his arms to let no traces thereof be seen, but to wash hands and face from stain of rust, thereby shall ladies be pleased; to hold women in love and honour; never to seek to deceive them (as he might do many), for false love is fleeting and men and women are one as are sun and daylight.--There seems to me an evident progression in the ethical character of these counsels. Originally they were doubtless purely practical and somewhat primitive of their nature. As it is, Chrestien's words sound very strange to modern ears.

[75] In the notes to my two articles in the "Folk-Lore Record" will be found a number of references establishing this fact.

[76] The hero renews his strength after his various combats by rubbing himself with the contents of a vessel of balsam. He has moreover to enter a house the door of which closes to of itself (like the Grail Castle Portcullis in Wolfram), and which kills him. He is brought to life by the friendly raven. The mysterious carlin also appears, "there was a turn of her nails about her elbows, and a twist of her h.o.a.ry hair about her toes, and she was not joyous to look upon." She turns the hero's companions into stone, and to unspell them he must seek a bottle of living water and rub it upon them, when they will come out alive. This is like the final incident in many stories of the Two Brothers cla.s.s. _Cf._ note, p. 162.

[77] O'Daly's version consists of 158 quatrains; Campbell's of 63. The correspondence between them, generally very close (frequently verbal), is shown by the following table:--

O'D., 1, 2. C., 1, 2.

-- C., 3.

O'D., 3. C., 4.

O'D., 4-15. -- O'D., 16. C., 4.

O'D., 17-24. C., 5-12.

O'D., 25. -- -- C., 13-15.

O'D., 26-47. C., 16-36.

O'D., 48-56. -- O'D., 57-61. C., 37-40.

O'D., 62. -- O'D., 63-65. C., 41-43.

O'D., 66. C., 45.

O'D., 67. C., 44.

O'D., 68, 69. C., 46, 47.

O'D., 70. C., 49.

O'D., 71. C., 48.

-- C., 50.

O'D., 72. C., 52.

O'D., 73. -- O'D., 74. C., 53.

O'D., 75. C., 54.

O'D., 76-80. C., 55-59.

O'D., 81-134. -- O'D., 135, 136. C., 60, 61.

-- C., 62.

O'D., 137. -- O'D., 138. C., 63.

O'D., 139-158. --

[78] Of this widely spread group, Grimm's No. 60, Die zwei Bruder, may be taken as a type. The brethren eat heart and liver of the gold bird and thereby get infinite riches, are schemed against by a goldsmith, who would have kept the gold bird for himself, seek their fortunes throughout the world accompanied by helping beasts, part at crossways, leaving a life token to tell each one how the other fares; the one delivers a princess from a dragon, is cheated of the fruit of the exploit by the Red Knight, whom after a year he confounds, wins the princess, and, after a while, hunting a magic hind, falls victim to a witch. His brother, learning his fate through the life token, comes to the same town, is taken for the young king even by the princess, but keeps faith to his brother by laying a bare sword twixt them twain at night. He then delivers from the witch's spells his brother, who, learning the error caused by the likeness, and thinking advantage had been taken of it, in a fit of pa.s.sion slays him, but afterwards, hearing the truth, brings him back to life again. Grimm has pointed out in his notes the likeness between this story and that of Siegfried (adventures with Mimir, Fafnir, Brunhilde, and Gunnar). In India the tale figures in Somadeva's Katha Sarit Sagara (Brockhaus' translation, ii., 142, _et seq._). The one brother is transformed into a demon through accidental sprinkling from a body burning on a bier. He is in the end released from this condition by his brother's performing certain exploits, but there is no similarity of detail. Other variants are _Zingerle_ (p.

131) where the incident occurs of the hero's winning the king's favour by making his bear dance before him; this I am inclined to look upon as a weakened recollection of the incident of a hero's making a princess _laugh_, either by playing antics himself or making an animal of his play them (_see_ _supra_, p. 134, Kennedy's Irish Tale). Grimm also quotes _Meier_ 29 and 58, but these are only variants of the dragon-killing incident. In the variant of 29, given p. 306, the hero makes the king laugh, and in both stories occurs the familiar incident of the hero coming unknown into a tournament and overcoming all enemies, as in Peredur (Inc.

9). _Wolf._, p. 369, is closer, and here the hero is counselled by a grey mannikin whom he will unspell if he succeeds. _Stier_, No. I. (not p. 67, as Grimm erroneously indicates) follows almost precisely the same course as Grimm's 60, save that there are three brothers. _Graal_, p. 195, has the magic gold bird opening, but none of the subsequent adventures tally.

_Schott_, No. 11, is also cited by Grimm, but mistakenly; it belongs to the faithful-servant group. Very close variants come from Sweden (Cavallius-Oberleitner, V_a_, V_b_) and Italy (Pentamerone, I. 7 and I.

9). The Swedish tales have the miraculous conception opening, which is a prominent feature in tales belonging to the Expulsion and Return group (_e.g._, Perseus, Cu-Chulaind, and Taliesin), but present otherwise very nearly the same incidents as Grimm. The second of the Italian versions has the miraculous conception opening so characteristic of this group of folk-tales, and of the allied formula group, the attainment of riches consequent upon eating the heart of a sea dragon, the tournament incident (though without the disguise of the hero), the stag hunt, wherein the stag, an inimical wizard haunting the wood, is a cannibal and keeps the captured hero for eating. In the story of the delivery by the second brother, the separating sword incident occurs. The first version opens with what is apparently a distorted and weakened form of the hero's clearing a haunted house of its diabolical inmates (_see_ _infra_ Ch.

VII., Gawain) and then follows very closely Grimm's Two Brothers, save that the alluring witch is young and fair, the whole tale being made to point the moral, "more luck than wit." Straparola, _a_ 3, is a variant of the dragon fight incident alone. It is impossible not to be struck by the fact that in this widely spread group of tales are to be found some of the most characteristic incidents of the Perceval and allied Great Fool group.

The only version, however, which brings the two groups into formal contact is O'Daly's form of the Great Fool.

[79] The brother feature appears likewise in Wolfram von Eschenbach, where Parzival's final and hardest struggle is against the unknown brother, as the Great Fool's is against the Gruagach. This may be added to other indications that Wolfram _did_ have some other version before him besides Chrestien's.

[80] I cannot but think that these words have connection with the incident in the English Sir Perceval of the hero's throwing into the flames and thus destroying his witch enemy.

[81] I must refer to my Mabinogion Studies, I. Branwen for a discussion of the relation of this tale with Branwen and with the Teutonic Heldensage.

[82] Another parallel is afforded by the tale of Conall Gulban (Campbell, III., 274). Conall, stretched wounded on the field, sees "when night grew dark a great Turkish carlin, and she had a white glaive of light with which she could see seven miles behind her and seven miles before her; and she had a flask of balsam carrying it." The dead men are brought to life by having three drops of balsam put into their mouths. The hero wins both flask and glaive.

[83] _Cf._ my Branwen for remarks on the mythological aspect of the ballad. It should be noted that most of the ballads traditionally current in the Highlands are of semi-literary origin, _i.e._, would seem to go back to the compositions of mediaeval Irish bards, who often sprinkled over the native tradition a profusion of cla.s.sical and historical names. I do not think the foreign influence went farther than the "names" of some personages, and such as it is is more at work in the ballads than in the tales.

[84] This may seem to conflict with the statement made above (p. 145), that the Mabinogi probably took over the maimed uncle from Chrestien. But there were in all probability several forms of the story; that hinted at in Chrestien and found in Manessier had its probable counterpart in Celtic tradition as well as that found in Gerbert. It is hardly possible to determine what was the form found in the proto-Mabinogi, the possibility of its having been exactly the same as that of Gerbert is in no way affected by the fact that the Mabinogi, as we now have it, has in this respect been influenced by Chrestien. Meanwhile Birch-Hirschfeld's hypothesis that Gerbert's section of the Conte du Graal is an interpolation between Gautier and Manessier is laid open to grave doubt.

It is far more likely that Gerbert's work was an independent and original attempt to provide an ending for Chrestien's unfinished poem, and that he had before him a different version of the original from that used by Gautier and Manessier.

[85] It occurs also in Peredur (Inc. 16), where the hero comes to the Castle of the Youths, who, fighting every day against the Addanc of the Cave, are each day slain, and each day brought to life by being anointed in a vessel of warm water and with precious balsam.

[86] For the second time, if Gerbert's continuation be really intended for our present text of Gautier, and if Potvin's summary of Gerbert is to be relied upon; Birch-Hirschfeld seemingly differs from him here, and makes the King at once mention the flaw.

[87] It may be worth notice that v. 35,473 is the same as Chrestien, v.

4,533.

[88] It is evident that, although in the MS. in which this version is found it is followed by Manessier's section, the poem was intended by Gerbert to end here.

[89] Told at other times, and notably by Gautier himself (Inc. 21), of Perceval, where the feature of a dead knight lying on the altar is added.

[90] According to the Montpellier MS., which here agrees substantially with Potvin's text (the Mons MS.), this is Gauvain's second visit to the Grail Castle. At his first visit he had been subjected to the sword test and had slept. The mystic procession is made up as follows:--Squire with lance; maidens with plate; two squires with candlesticks; fair maiden weeping, in her hands a "graal;" four squires with the bier, on which lies the knight and the broken sword. Gauvain would fain learn about these things, but is bidden first to make the sword whole. On his failure he is told

Vous n'avez par encore tant fet D'armes, que vous doiez savoir, etc.,

and then goes to sleep. His awakening finds him in a marsh.